Boycott and divestment are essential tools for activists around the globe. Today's organizers target museums, universities, corporations, and governments to curtail unethical sources of profit, discriminatory practices, or human rights violations. They leverage cultural production – and challenge its institutional supports – helping transform situations in the name of social justice.

The refusal to participate in an oppressive system has long been one of the most powerful instruments in the organizer's arsenal. Since the days of the 19th century Irish land wars, when Irish tenant farmers defied the actions of Captain Charles Boycott and English landlords, "boycott" has been a method that's shown its effectiveness time and again. In the 20th century, it notably played central roles in the liberation of India and South Africa and the struggle for civil rights in the U.S.: the 1955 Montgomery bus boycott is generally seen as a turning point in the movement against segregation.

Assuming Boycott is the essential reader for today's creative leaders and cultural practitioners, and includes original contributions by artists, scholars, activists, critics, curators and writers examine four key areas: the historical precedent of South Africa; the current cultural boycott of Israel; freedom of speech and self-censorship; and long-distance activism. Far from representing withdrawal or cynicism, boycott emerges as a special condition for discourse, artmaking and political engagement.

Advance Praise for Assuming Boycott
"The brilliant writers and debaters assembled here come at the issue from different angles, all from the central belief that art is never not political. In the end, they are less interested in arguing for or against tactics than they are in advocating an art of political thinking."
—Holland Cotter, co-chief art critic, The New York Times

"Artistic resistance has seldom proven so socially useful, or as complicated. This intellectually engaging study targets the paradoxes, limitations, and media spectacle of organized cultural boycotts and state-sponsored censorship from South African apartheid in the 1980s, to present day Israel-Palestine, Cuba, the Gulf States, the United Kingdom, and the United States among other geopolitical zones of conflict." —Gregory Sholette, artist and author of Delirium and Resistance: Activist Art and the Crisis of Capitalism

"Assuming Boycott defiantly holds the best arguments regarding boycott. It shows that boycott is not only a form of sanctions but also an invitation to dialogue. This collection of essays offers a historical perspective with comparative case studies, making it the ultimate resource to help decide where to draw the ethical line." —Galit Eilat, writer and curator, co-curator of 31st São Paulo Biennial

"Assuming Boycott is an essential contribution to an ongoing, urgent conversation about how artists, writers, and thinkers have time and again created subtle, meaningful, powerful, and vibrant ways to engage the political sphere. This book is a valuable guide to cultural boycotts from South Africa to Palestine." —Walid Raad, artist, professor, Cooper Union

"Without a trace of left-wing melancholy, the authors offer us an essential guide to the terrain of cultural politics today. With colleagues and comrades like these, one feels not only bolstered but downright emboldened." —Hal Foster, Townsend Martin Professor of Art and Archeology, Princeton University; editor, The Anti-Aesthetic: Essays on Postmodern Culture

Assuming Boycott: Resistance, Agency, and Cultural Production is published by OR Books, in association with the Vera List Center for Art and Politics.